Jeff Beck – Beck-Ola (1969)

LPFrontCover1Beck-Ola is the second album by Jeff Beck, released in 1969 in the United Kingdom on Columbia Records and in the United States on Epic Records. It peaked at No. 15 on the Billboard 200, and at No. 39 on the British album chart. The album’s title puns on the name of the Rock-Ola jukebox company.


After the release of their previous album Truth, by the end of 1968 drummer Micky Waller was replaced by Tony Newman, as Jeff Beck wanted to take the music in a heavier direction and he viewed Waller as more of a finesse drummer in the style of Motown.[3] Pianist Nicky Hopkins, who had also played on Truth, was asked to join the band full-time for their work in the studio.

Recording sessions for the album took place over six days in April 1969 – the 3rd, 6th, 8th, 10th, 11th and 19th. Two covers of Elvis Presley tunes were chosen, “All Shook Up” and “Jailhouse Rock”, as well as “Girl From Mill Valley”, an instrumental by and prominently featuring Hopkins. The remaining four tracks consist of band originals, with the instrumental “Rice Pudding” ending the album with a hard edit mid-song. The cover features a reproduction of Belgian surrealist artist René Magritte’s The Listening Room. On the back cover to the original vinyl issue, beside “Beck-Ola” is written the tag “Cosa Nostra”, Italian for “Our Thing”.

JeffBeckLiveFollowing the sessions for this album, the Jeff Beck Group toured the United States. They were scheduled to play Woodstock and are listed on posters promoting the festival, but by then internal friction had reached the breaking point and both Ronnie Wood and Rod Stewart were out of the band. Stewart and Wood would join the Faces in 1969, while Hopkins played Woodstock with Jefferson Airplane, joined Quicksilver Messenger Service, and would tour with The Rolling Stones in 1971, 1972 and 1973. Beck himself would be out of commission by December due to an automobile accident.
In a contemporary review for The Village Voice, music critic Robert Christgau was unimpressed by the album and facetiously remarked that Stewart and Beck had encouraged Hopkins’ overblown playing. At the time, Beck commented on the album cover the impossibility of coming up with anything original, and that Beck-Ola indeed was not.[4] Although a short album at half an hour, along with its predecessor it is regarded as a seminal work of heavy metal due to its use of blues toward a hard rock approach and the squaring off of Beck’s guitar against Stewart’s vocals, and claims that it was duplicated the same year by Beck’s confederate Jimmy Page with his singer Robert Plant in Led Zeppelin, although in actual fact Zeppelin had been displaying such style since the summer of 1968.


On 10 October 2006, Legacy Recordings remastered and reissued the album for compact disc with four bonus tracks, all of which had been previously unreleased. Included were two early takes of the Presley covers, one done at Abbey Road Studios in January, a jam on “Sweet Little Angel” by B.B. King done the previous November with the Waller edition of the band, and a song intended as a single by producer Mickie Most but never issued. (by wikpedia)

Ron Wood

When it was originally released in June 1969, Beck-Ola, the Jeff Beck Group’s second album, featured a famous sleeve note on its back cover: “Today, with all the hard competition in the music business, it’s almost impossible to come up with anything totally original. So we haven’t. However, this LP was made with the accent on heavy music. So sit back and listen and try and decide if you can find a small place in your heads for it.” Beck was reacting to the success of peers and competitors like Cream and Led Zeppelin here, bands that had been all over the charts with a hard rock sound soon to be dubbed heavy metal, and indeed, his sound employs much the same brand of “heavy music” as theirs, with deliberate rhythms anchoring the beat, over which the guitar solos fiercely and the lead singer emotes. But he was also preparing listeners for the weakness of the material on an album that sounds somewhat thrown together. Two songs are rehauls of Elvis Presley standards (“All Shook Up” and “Jailhouse Rock”) and one is an instrumental interlude contributed by pianist Nicky Hopkins, promoted from sideman to group member, with the rest being band-written songs that basically serve as platforms for Beck’s improvisations.


But that doesn’t detract from the album’s overall quality, due both to the guitar work and the distinctive vocals of Rod Stewart, and Beck-Ola easily could have been the album to establish the Jeff Beck Group as the equal of the other heavy bands of the day. Unfortunately, a series of misfortunes occurred. Beck canceled out of a scheduled appearance at Woodstock; he was in a car accident that sidelined him for over a year, and Stewart and bass player Ron Wood decamped to join Faces, breaking up the group. Nevertheless, Beck-Ola stands as a prime example of late-’60s British blues-rock and one of Beck’s best records. (by William Ruhlmann)


Jeff Beck (guitar, background vocals on “Throw Down a Line”
Nicky Hopkins (keyboards)
Tony Newman (drums)
Rod Stewart (vocals)
Ronnie Wood (bass)
Micky Waller (drums on 08.)

01. All Shook Up (Blackwell/Presley) 4.50
02. Spanish Boots (Wood/Beck/Stewart) 3.34
03. Girl From Mill Valley (Hopkins) 3.45
04. Jailhouse Rock (Leiber/Stoller) 3.14
05. Plynth (Water Down The Drain) (Hopkins/Wood/Stewart) 3.05
06. The Hangman’s Knee (Newman/Beck/Hopkins/Stewart/Wood) 4.47
07. Rice Pudding (Hopkins/Wood/Beck/Newman) 7.22
08. Sweet Little Angel (King/Taub) 7.57
09. Throw Down A Line (Marvin) 2.54
10. All Shook Up (early version) (Blackwell/Presley) 3.18
11. Jailhouse Rock (early version) (Leiber/Stoller) 3.11





Jeff Beck & The Big Town Playboys – Crazy Legs (1993)

lpfrontcover1Oh yes, the many sides of Jeff Beck:

Crazy Legs is a studio album by Jeff Beck and the Big Town Playboys, released on 29 June 1993. The recording is an album of Gene Vincent songs. The album is considered to be a tribute to Gene Vincent and His Blue Caps, and in particular to Vincent’s early guitarist Cliff Gallup, whom Beck recognized as his biggest influence.

The album peaked at No. 171 on the Billboard 200 chart.

Jeff Beck has made many strange albums, but none were ever quite as strange as this. With the Big Town Playboys offering support, Beck rips through 18 Gene Vincent numbers (not “Be-Bop-a-Lula,” however), paying tribute to Vincent’s guitarist, Cliff Gallup. Beck sounds terrific as he reconstructs Gallup’s parts, but he doesn’t add anything to the originals. Still, Crazy Legs is a fun listen and offers many insights into Beck’s playing, if not Gallup’s. (by Stephen Thomas Erlewine)
Crazy Legs is Jeff Beck’s tribute to the player who inspired him to pick up the guitar, Cliff Gallup of Gene Vincent and the Blue Caps. The fact that this collection of rockabilly tunes is also one of the liveliest albums of Beck’s long career also underscores the fact that the brilliant guitarist is one of rock’s greatest underachievers. Apparently unable to sustain working relationships with players as strong as those in his early groups, Beck has become a top-dollar guitarist for hire who has traded sustained musicality for isolated moments of virtuosity.
But slumming with the Big Town Playboys, a respected British revival group, Beck is not just flashy window dressing but the lightning rod in a red-hot combo.
Beck has said that his biggest challenge in mastering rockabilly, a style that calls for the guitarist to mix single-note runs with snappy clusters of chords, was learning to play without the volume and distortion that has informed his playing since his mid-’60s tenure with the Yardbirds. That’s what gives Crazy Legs its swing, for instead of dominating the music with sheer sonic muscle, Beck achieves the same end by bouncing his encyclopedic bag of riffs off a rippling rhythm section of drums and stand-up bass. Throughout these 18 well-chosen selections, Beck is equally apt to whip out a propulsive rhythm (“Lotta Lovin'”), a string of arpeggios (“Blues Stay Away From Me”) or a wildly scrambled solo (“Cruisin'”). If guitarists earned degrees, Crazy Legs would be Beck’s thesis toward a doctorate in rockabilly.
Crazy Legs is unlikely to be more than just another odd patch in Beck’s crazy-quilt career. Rockabilly, after all, has been a retro novelty ever since the early Beatles covered tunes by Carl Perkins. The Playboys are certainly less self-conscious than the Stray Cats, who enjoyed 15 minutes of fame in the 1980s, though you can bet your ducktail that the Playboys wouldn’t be on a major label without Beck on guitar. In that regard, Crazy Legs is oddly akin to Eric Clapton’s Unplugged, for in both cases, celebrated guitar gods respectfully re-create the music that had first stirred their passions. Beck doesn’t add anything new to the rockabilly vocabulary, but he plays this music as well as it’s ever been played. So while Crazy Legs is ultimately redundant, it also rocks like crazy. (by Rolling Stone)
Jeff Beck (guitar)
Clive Deamer (drums, Background vocals)
Ian Jennings (bass, background vocals)
Mike Sanchez (vocals, piano)
Adrian Utley (guitar)
Leo Green (saxophone on 12.)
Nick Lunt (saxophone on 12.)
Tony Rivers (piano on 09.)

01. Race With The Devil (Vincent/Davis) 2.01
02. Cruisin’ (Vincent/Davis) 2.22
03. Crazy Legs (Woolfe/Reed) 2.04
04. Double Talkin’ Baby (Woolfe/Reed) 2.15
05. Woman Love (Rhodes) 2.36
06. Lotta Lovin’ (Bedwell) 2.05
07. Catman (Vincent/Davis) 2.24
08. Pink Thunderbird (Peek/Davis) 2,31
09. Baby Blue (Jones/Vincent) 2.37
10. You Better Believe (Gallup) 2.10
11. Who Slapped John? (Vincent/Davis) 1.56
12. Say Mama (Earl/Meeks) 2.13
13. Red Blue Jeans And A Pony Tail (Rhodes/Davis) 2.18
14. Five Feet Of Lovin’ (Peddy/Tillis) 2.12
15. B-I-Bickey-Bi-Bo-Bo-Go (Carter/Nalls/Rhodes) 2.13
16. Blues Stay Away From Me (Delmore/Glover/Delmore/Rainey) 2.25
17. Pretty Pretty Baby (Wolfe) 2.27
18. Hold Me, Hug Me, Rock Me  (Vincent/Davis) 2.15



Jeff Beck – Live In Tokyo (2014)

frontcover1Since his early days with the Yardbirds and on through his genre-busting solo years, Jeff Beck‘s guitar style remains uniquely his own. He proves that once again on his new DVD, Live in Tokyo.

Filmed in April 2014 at the Tokyo Dome City Hall in Japan, following the surprise US tour he did with Brian Wilson the previous fall. On that tour, Beck introduced a couple of new songs from an as-yet unreleased new album, including “Yemin,” which also turns up here.

Fans of Beck will be thrilled with pretty much everything about this set. The master delivers spirited versions of classics like “Blue Wind,” “Led Boots” and “Rollin’ and Tumblin’” as well as his unique version of the Beatles‘ “A Day In The Life,” which has left more than one fan dazzled and dazed by its beauty.

It is not, of course, a one man show. Beck’s backing band, fairly new at the time of the filming, more than hold their own. Drummer Jonathan Joseph and bassist Rhonda Smith make for a very powerful (if at times a bit busy) rhythm section. The style of guitarist Nicolas Meier compliments Beck without ever stepping on his spotlight.

Those wanting a simple explanation of what Beck does from this concert will be disappointed. He manages to spread his wings across jazz, funk, rock, blues and ballads without blinking. The medley of “Goodbye Pork Pie Hat / Brush With The Blues,” long a


Rhonda Smith

staple of his live shows, is a particular gem. Even when he veers off into a display of technical flash and fire, he never loses the soul which is always at the heart of his playing.

The heavy as hell “Big Block” is captured here in a stunning performance. And of course, when he wants to cut loose, there is still no stopping him. A moving rendition of “‘Cause We Ended As Lovers” from Blow By Blow, a stellar take on Jimi Hendrix‘s “Little Wing” and a powerhouse “Rollin’ and Tumblin” are among the highlights.

The actual sound and visual here is fantastic. Sharp image and crystal clear sound give the viewer the old “next best thing to being there” feeling, without question. All in all, Live In Tokyo is a must for fans of Jeff Beck and his mastery of the guitar. Casual fans may find it a bit indulgent at times, but then again, it’s doubtful anyone falls on the “casual” side of the fence when it comes to Mr. Beck these days. (by


There is a moment in the recently released DVD, Jeff Beck: Live In Tokyo, when it really hits home that Beck is indeed a genius. It’s not when he’s driving through a rocker like “Big Block” or rockabilly jazzing in “Rollin’ & Tumblin’” or even when he’s giving homage to John Lennon on “A Day In The Life.” It’s when he is so quiet and the notes are so delicate they could shatter at the slightest touch. That is when all the years of hype about Beck’s immense artistry on the guitar solidifies in your mind. He is a genius.

Filmed in April of last year at the Tokyo Dome City Hall, this is Jeff Beck at probably his most mature. Nothing is rushed, nothing is overly lit, nothing is fake. It’s Beck accompanied by three very strong musicians (guitarist Nicolas Meier, bassist Rhonda Smith and drummer Jonathan Joseph) performing in synch to compositions by the likes of Jimi Hendrix, Muddy Waters, Charles Mingus, Stevie Wonder and Beck himself. (by

And this is the audio version from this concert.


Jeff Beck (guitar)
Jonathan Joseph (drums)
Nicolas Meier (guitar)
Rhonda Smith (bass, vocals)

01. Introduction/Loaded (Beck/Garcia) 4.52
02. Little Wing (Hendrix) 3.10
03. You Know You Know (McLaughlin) 6.44
04. Hammerhead (Beck/Rebello) 4.05
05. Angel (Footsteps) (Hymas) 5.30
06. Stratus (Cobham) 5.45
07. Yemin (Meier) 6.23
08. Where Were You (Beck/Bozzio/Hymas) 3.15
09. The Pump (Hymas/Phillips) 3.57
10. Goodbye Pork Pie Hat’ (Mingus) / ‘Brush With The Blues (Hymas/Beck) 4.08
11. You Never Know (Hammer) 4.05
12. Danny Boy (Traditional) 3.04
13. Blue Wind (Hammer) 2.55
14. Led Boots (Middelton) 4.10
15. Corpus Christi Carol (Traditional) 2.33
16. Big Block (Beck/Bozzio/Hymas) 5.18
17. A Day In The Life (Lennon/McCartney) 6.11
18. Rollin’ And Tumblin’ (Traditional) 5.14
19. ‘Cause We Ended As Lovers () 3.59
20. Why Give It Away (Beck/Delila/Appapoulay/Cassell/McEwan) 6.38






Various Artists – From Clarksdale To Heaven – Remembering John Lee Hooker (2002)

FrontCover1For the first of two tribute albums to John Lee Hooker, executive producer Arnie Goodman of Blue Storm Music has assembled an impressive list of British musicians from the 1960s who helped spark the ’60s blues revival that was responsible for the ascension of Hooker (among others) into legendary status. The biggest name on his own is Jeff Beck, who plays guitar on “Will the Circle Be Unbroken” and “Hobo Blues,” but other notable figures include Cream’s Jack Bruce, Leo Lyons and Ric Lee from Ten Years After, Procol Harum’s Gary Brooker, ex-Rolling Stone Mick Taylor, former Fleetwood Mac leader Peter Green, and Gary Moore. The performers are reverent toward Hooker’s music, maintaining its relentless rhythmic power and even at times re-creating the master’s haunting mumble of a voice. The set is not entirely given over to the Brits, however, as it opens with Inlet1A“I Want to Hug You,” sung by Hooker’s daughter, Zakiya, and ends with Hooker himself, accompanied by Booker T. Jones and Randy California, among others, performing a previously unreleased “Red House” that was cut for a Jimi Hendrix tribute album. There is also a newly written song (“The Business”) penned by Grateful Dead lyricist Robert Hunter and Bay Area musician Greg Anton that was earmarked for a Hooker project never recorded due to his death. Such tracks provide some variety, but the strength of the album is still in the devoted performances of people like Beck and Green. (by William Ruhlmann )

From a child of his body and the children of his music, this is a chance to pay respects to the man who made his guitar a blacksmith’s anvil and pounded out rhythms of sorrow. Look for Jack Bruce’s Ozzy Osbourne-like sneer on “I’m in the Mood,” along with Gary Moore’s Godzilla footsteps on guitar. That’s Jeff Beck playing robot-metallic notes on “Will the Circle Be Unbroken” and “Hobo Blues,” and Peter Green’s vocal sounds like a decaying zombie obeying his master on “Crawling King Snake.” John Lee himself paints a “Red House” with something other than crimson pigment, and I’ve got to credit Robert Hunter’s composition, “The Business,” by Greggs Eggs vocalist Suzanne Sterling for giving the old man that special smile with a posthumous kiss. (by Mitchell Lopate)


Jeff Allen (drums)
Michael Bailey (bass, background vocals)
Richard Bailey (drums)
Jeff Beck (guitar)
Gary Brooker (piano, vocals)
Jack Bruce (bass, vocals)
Randy California (guitar)
Dave “Clem” Clempson (guitar)
Vince Converse (guitar, vocals)
Tony Cook (guitar)
David Daniel (bass)
Bruce Gary (drums)
Earl Green (vocals)
Peter Green (guitar, harmonica)
Kenny Greene (drums)
Dave Hadley (bass)
Dick Heckstall-Smith (saxophone)
John Lee Hooker (guitar, vocals)
Zakiya Hooker (vocals)
Gary Husband (drums)
Johnnie Johnson (piano)
Booker T. Jones (organ)
Ric Lee (drums)
Andy Fairweather Low (guitar)
Leo Lyons (bass)
Godfrey McLean (drums)
T.S. McPhee (guitar, vocals)
Max Middleton (piano)
Dave Moore (piano)
Gary Moore (guitar)
Bobby Murray (guitar)
Matt Pegg (bass)
Henry Spinetti (drums)
Peter Stroud (bass)
Mick Taylor (guitar, vocals)
Nigel Watson (guitar)
Chris Wilson (bass)


01. Zakiya Hooker, Johnnie Johnson, Bobby Murray: I Want To Hug You (Hooker) 4.04
02. Jack Bruce + Gary Moore: I’m In The Mood (Besman/Hooker) 6.19
03. LLC-Vince Converse, Leo Lyons, Ric Lee: Bad Like Jesse James (Hooker) 7.07
04. Jeff Beck: Will The Circle Be Unbroken (Traditional) 6.08
05. Gary Brooker + Andy Fairweather-Low: Baby Lee (Bracken/Hooker) 4.48
06. T.S. McPhee, Dick Heckstall-Smith: Ground Hog Blues (Hooker) 5.44
07. Mick Taylor + Max Middleton: This Is Hip () 3.50
08. Peter Green Splinter Group: Crawlin’ King Snake () 5.41
09. T.S. McPhee, Dick Heckstall-Smith, Clem Clempson: I’m Leaving () 5.25
10. Gary Brooker + Andy Fairweather-Low: Little Wheel () 5.34
11. Greggs Eggs: The Business () 4.36
12. Jeff Beck: Hobo Blues () 5.52
13. Gary Moore + Jack Bruce: Serve Me Right To Suffer () 6.24
14. John Lee Hooker, Booker T, Randy California: Red House (Hendrix) 4.57
(Prevously unreleased song with J.L. Hooker)






Jeff Beck – Truth (1968)

FrontCover1Truth is the debut album by Jeff Beck, released in 1968 in the United Kingdom on Columbia Records and in the United States on Epic Records. It introduced the talents of his backing band (later baptized as The Jeff Beck Group), Rod Stewart and Ronnie Wood, to a larger audience , and peaked at number 15 on the Billboard 200.

After leaving The Yardbirds in late 1966, Jeff Beck had released three commercial singles, two in 1967 featuring Beck on lead vocals, and one without vocals in 1968. All had been hits on the British singles chart, and all were characterized by songs aimed at the pop chart on the A-side at the behest of producer Mickie Most. Harder rock and blues-based numbers were featured on the B-sides, and for music on the album, Beck opted to pursue the latter course.

JeffBeck02Recording sessions for the album took place over four days, 14–15 May and 25–26 May 1968. Nine eclectic tracks were taken from these sessions, including covers of “Ol’ Man River” by Jerome Kern, the Tudor period melody “Greensleeves”, and Bonnie Dobson’s “Morning Dew”, a 1966 hit single for Tim Rose. Beck acknowledged two giants of Chicago blues in songs by Willie Dixon — Muddy Waters’ “You Shook Me” and Howlin’ Wolf’s “I Ain’t Superstitious”. The album started with a song from Beck’s old band, “Shapes of Things”. Three originals were credited to “Jeffrey Rod”, a pseudonym for Beck and Stewart, all reworkings of previous blues songs: “Let Me Love You” the song of the same title by Buddy Guy; “Rock My Plimsoul” from “Rock Me Baby” by B.B. King; and “Blues Deluxe” similar to another song by B.B. King, “Gambler’s Blues”. “Plimsoul” had already been recorded for the B-side to the 1967 single “Tallyman”, and the tenth track, an instrumental featuring Jimmy Page, John Paul Jones, Keith Moon, and future Beck group pianist Nicky Hopkins, “Beck’s Bolero”, had been edited and remixed for stereo from the earlier B-side to “Hi Ho Silver Lining”. Due to contractual conflicts, Moon had been credited on the original album as “You Know Who”.

JeffBeck03Truth is regarded as a seminal work of heavy metal because of its use of blues toward a hard rock approach. Tom Scholz of Boston has listed it as his favorite album on Gibson’s online magazine, stating, “I knew Jeff Beck’s Truth album inside out…” The album’s title inspired the name of Iowa band Truth and Janey. (by wikipedia)

Despite being the premiere of heavy metal, Jeff Beck’s Truth has never quite carried its reputation the way the early albums by Led Zeppelin did, or even Cream’s two most popular LPs, mostly as a result of the erratic nature of the guitarist’s subsequent work. Time has muted some of its daring, radical nature, elements of which were appropriated by practically every metal band (and most arena rock bands) that followed. Truth was almost as groundbreaking and influential a record as the first Beatles, Rolling Stones, or Who albums. Its attributes weren’t all new — Cream and Jimi Hendrix had been moving in similar directions — but the combination was: the wailing, heart-stoppingly dramatic vocalizing by Rod Stewart, the thunderous rhythm section of Ron Wood’s bass and Mickey Waller’s drums, and Beck’s blistering lead guitar, which sounds like his amp is turned up to 13 and ready to short out. Beck opens the proceedings in a strikingly bold manner, using his old Yardbirds hit “Shapes of Things” as a jumping-off point, deliberately rebuilding the song from the ground up so it sounds closer to Howlin’ Wolf. There are lots of unexpected moments on this record: a bone-pounding version of Willie Dixon’s “You Shook Me”; a version of Jerome Kern’s “Ol’ Man River” done as a slow electric blues; a brief plunge into folk territory with a solo acoustic guitar version of “Greensleeves” (which was intended as filler but audiences loved); the progressive blues of “Beck’s Bolero”; the extended live “Blues Deluxe”; and “I Ain’t Superstitious,” a blazing reworking of another Willie Dixon song. It was a triumph — a number 15 album in America, astoundingly good for a band that had been utterly unknown in the U.S. just six months earlier — and a very improbable success. (by Bruce Eder)

Jeff Beck (guitar, pedal steel guitar on 01. bass guitar on 05.)
Rod Stewart (vocals)
Micky Waller (drums)
Ronnie Wood (bass)
Nicky Hopkins (piano on 03., 04., 08. + 09.)
John Paul Jones bass on 08, organ on 04. + 05.)
Keith Moon (drums on 08., timpani on 05.)
Jimmy Page (guitar on 08.)
Unknown Scottish bagpipe player (bagpipes on 03.)
Unknown studio orchestra – orchestra on “Love Is Blue”

01. Shapes Of Things (McCarty/Relf/Paul Samwell-Smith) 3.22
02. Let Me Love You (Beck/Stewart) 4.44
03. Morning Dew (Dobson) 4.40
04. You Shook Me (Dixon/Lenoir) 2.33
05. Ol’ Man River (Kern/Hammerstein II) 4.01
06. Greensleeves (Traditional) 1.50
07. Rock My Plimsoul (Beck/Stewart) 4.13
08. Beck’s Bolero (Page) 2.54
09. Blues Deluxe (Beck/Stewart) 7.33
10. I Ain’t Superstitious (Dixon) 4.53


JeffBeck04Ronnie Wood, Jeff Beck, Mick Waller & Rod Stewart

Jeff Beck Group – Finland (1971)

FrontCover1The first Jeff Beck Group lasted between 1967 and 1969. In late 1970, Beck reformed the group with vocalist Alex Ligertwood, keyboardist Max Middleton, drummer Cozy Powell and bassist Clive Chaman. By June 1971, Bob Tench was the new vocalist and second guitarist. As Gsparaco pointed out at, the fun and loose feeling provided by Rod Stewart and Ron Wood in the earlier outfit was now replaced by a tight, professional and diverse group with very interesting material.

Gsparaco also noted that what is apparent is the key role played by Middleton. Throughout the short recording Beck and Middleton played off one another, like on Jody where they play a call-and-response game before the short drum solo and the segue into Ice Cream Cakes.

This set has also circulated among fans as Flying High (Empress Valley) and as part of the Ruis Rockfestival Beat Club & BBC 1971 & 1972 (Mid Valley Sampler).

Recorded live at the Ruis Rock Festival, Runsala-Runsala-Parken, Turku, Finland; August 22, 1971. Very good soundboard.

Jeff Beck (guitar)
Clive Chaman (bass)
Max Middleton (keyboards)
Cozy Powell (drums)
Bob Tench (vocals, guitar)


Alternate frontcover

01. New Ways/Train Train (Beck) 7.49
02. I Got To Have A Song (Wonder/Hunter/Hardaway/Riser) 6.51
03. I’ve Been Used (Beck) 4.44
04. Situation (Beck) 6.14
05. Jody (Beck/Short) 7.32
06. Ice Cream Cakes (Beck) 6.54


Beck Bogert Appice – Same (1973)

FrontCover1Beck, Bogert & Appice is the eponymous debut album by the ’70s band Beck, Bogert & Appice. They were a supergroup and power trio, with the line up of guitarist Jeff Beck (who had already been a member of The Yardbirds and The Jeff Beck Group), bassist Tim Bogert, and drummer Carmine Appice (both formerly members of Vanilla Fudge and Cactus). The album had solid sales in 1973. One of the most notable tracks is Beck’s version of the famous song of Stevie Wonder’s and his’ creation: “Superstition.”

This was the band’s only studio album, as Beck left the band without warning during the recording of their second album, forcing a sudden dissolution in 1974. (by wikipedia)

Beck01One of the great things about Jeff Beck is his utter unpredictability. It’s also one of the most maddening things about him, too, since it’s as likely to lead to flights of genius as it is to weird detours like Beck, Bogert & Appice. It’s hard to tell what exactly attracted Beck to the rhythm section of Vanilla Fudge and Cactus — perhaps he just wanted to rock really loud and really hard, beating Led Zeppelin at their own game.

TicketWhatever the motivation, the end result was the same — a leaden album, with occasional interesting guitar work smothered by heavy riffs and rhythms that don’t succeed on a visceral level. It’s a loud, lumbering record that may be of interest for Beck archivists, provided they want to hear absolutely everything he did..(by Stephen Thomas Erlewine)

Carmine Appice (drums, vocals)
Jeff Beck (guitar, vocals)
Tim Bogert (bass, vocals)
Jimmy Greenspoon (piano)
Duane Hitchings (piano, mellotron)
Danny Hutton (background vocals)

01. Black Cat Moan (Nix) 3.44
02. Lady (Appice/Beck/Voorhis/Bogert/French/Hitchings) 5.33
03. Oh to Love You (Appice/Beck/Bogert/French/Hitchings) 4.04
04. Superstition (Wonder) 4.15
05. Sweet Sweet Surrender (Nix) 3.59
06. Why Should I Care (Kennedy) 3.31
07. Lose Myself With You (Appice/Beck/Bogert/French) 3.16
08. Livin’ Alone (Appice/Beck/Bogert) 4.11
09. I’m So Proud (Mayfield) 4.12
10. I´m So Proud (single version) (Mayfield) 3.25
11. Lady (single version) (Appice/Beck/Voorhis/Bogert/French/Hitchings) 3.50